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jester-lover · 4 months

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Could you do a Diasomnia dorm with their soulmates? Like the guys meeting soulmate for the first time, mc preferably being a human for that extra drama in case you’d want to add that?💙

Soulmate Sorrows

Oh you know I love the drama. Thank you for requesting, I hope my favoritism towards Sebek doesn’t show as much.

Feat/ Diasomnia

CWs/gn! Reader, angst-to-fluff, mentions of mortality, war and discrimination, brief kidnapping/isolation, bittersweet fluff (various soulmate aus), uhh, Sebek insults you pretty heavy

I took the creative liberty of making Lilia and Silver’s more humorous to tone down the angst of Sebek and Mal. (Also, I hope someone notices the flower language in the Sebek HCs.)

Malleus

When Malleus saw the red string on his finger connected to yours, he was filled with a sense of pure and simple happiness

As he holds you in his warm embrace, some realization hits him like a brick

As a human, you would live for a minuscule amount of time compared to him; he would see you grow gray and weak and pass on as he held onto your memory for eons to come

Or, even worse, a simple accident could take you away from him in the blink of an eye

Some sort of dragon instinct fills Malleus for a while, always suggesting to spend time with you away from others who may hurt you

He tries to keep you safe by hiding you from others, but humans like you are social creatures, and even the most introverted of us need some communication every once in awhile

He slowly realized he would be making you miserable by hiding you away and eventually stopped his behavior, apologizing to you meekly

During this process, Malleus breaks.

He cries into your arms, apologizing for his actions and revealing his fears and worries

As you comfort him, you tell him that you’ll be happy to be his for whatever time you have, and he decides from that point onward to keep you happy no matter what

He’s a very tender, affectionate lover

You can expect to sleep in his big bed, with the warm prince wrapped around you, and to hold his hand in between classes

Malleus seemingly forgets any social norms from his home when it comes down to you; he will literally fight tooth and nail with his advisers to keep you as his spouse when the time comes

Mortality rarely comes up in your discussions after a certain point, as he focuses on keeping you happy and safe

“My dearest, long after you’ve passed, I will still only have you in my heart... you’ve taken up all the space.”

Lilia

He’s as playful as ever when he sees the matching tattoo on your arm; his own is practically centuries old, and while he was content with being alone, he's so happy to see you!

Lilia might play his feelings off as being plainly giddy, but deep down he does worry a bit about how the two most important people in his life will most definitely outlive him

Now that he has a partner, a strange form of protectiveness surrounds him, like he’s found another purpose, a reason to grow stronger

(A reason to cook more!)

Moving on from that more serious topic, Lilia will be most excited to spend time just lounging about with you, strumming little melodies on his guitar, taking you on upside-down walks, cliche couple stuff, y’know?

(Just wait till he starts spilling historical tea)

To wind down and enjoy the little moments with the family he’s built, however long it lasts, is a major priority in his life

“I need someone to try out my new recipe~, all the ingredients are actually edible this time around!”

Silver

y'all are chill lmao

Okok, but when he sees you start showing up in his dreams, he’s a little freaked out, partially because you’re very attractive to him but mostly because he has zero clue how to navigate romance

Imagine going on a date with him, and he’s down for the count in the first 10 minutes

Thankfully, I assume you are aware of his sleep habit, and he’s always very grateful when you wake him up

Despite his stern exterior, Silver has a tendency to show his deep affection for you through acts of service, such as helping you clean Ramshackle House, because God knows how much it needs help (thanks, Crow Man).

Another little quirk about him is his tendency to go along with any cute couple activity you want to do

Wanna wear matching outfits? Cool with him.

Walk him to his classes? Absolutely.

Be the loudest spectator at his equestrian club meets? He appreciates the enthusiasm.

Even if you consider yourself to be a volatile or argumentative person, it’s very hard for Silver to get mad at you because of the genuine adoration and respect he holds for you

He can’t wait to grow older alongside you, to see you at your best, your worst, and your most human moments, until the two of you are old and wrinkly

“I saw something I thought you’d like at the store while I was running errands… maybe we could make dinner together…?”

Sebek

NO.

this is Sebek's worst nightmare come true; the words written on his wrist were the first you ever spoke to him, you, you disgusting, vile, no good human...

He runs far away, back into his room, and under his covers

He refuses to speak to you, refuses to look at you, and refuses to do anything involving you

For a couple of days, he just sulks, which is super heartbreaking for you, considering the fact that you can't control who you are, and your only soulmate just harshly rejected you

Sebek cries a lot. Like, a lot. at one point or another, his mother calls him to verbally smack some sense into him (and most likely Lilia too)

You see him standing at the door of Ramshackle House, breathing heavily as Grim offers to flambé him for you

You decide to hear him out, and he practically spills his years of self-loathing and hurt on your lap

Some part of you hurts for your soulmate, and you hold him in your arms

This relationship starts out turbulent, to say the least, but there’s a mental click that happens for him at one point, where he just realizes how if his own mother found joy with a human, he can too

Sebek tries his best to earn your trust, trying to break down the emotional layers his own internal bigotry has put between you

(it’s also very cute when he shows up with a bouquet of daffodils, as per Lilia’s recommendation)

You two definitely have a long road ahead of you, but Sebek’s affection is loud and unwavering, and while he might be stubborn in his nature, he knows when to cool it down now

For your sake and for the lifelong relationship he wants with you

“Human! I have a few hours to spare before training, would you like to read with me?”

OMG I actually posted??? I'm crawling through requests as fast as I can ya'll, school has been destroying my creativity for the last few weeks.

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autistichalsin · 5 months

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I know I express dissatisfaction a lot about how hard it is to get Halsin upset at the player- how no amount of mistreatment from a romanced player will make him break up with them, how he NEVER asserts a boundary, how he tolerates even the most cruel comments. The rare times he expresses hurt, it still changes nothing about his interactions with the player and rarely costs more than one approval.

The reason I express this most of all with the new datamined dialogue is for two reasons: one, that one is so beyond the pale that it needs to be treated as evil, and should include Halsin saying so. But also, if Halsin won't even call it quits with a romanced player after THIS, it raises some really worrying implications.

Halsin should be allowed to have ONE situation where he'll go "no more" to the player's cruelty because... honestly? The pattern the writers established here actually makes me worried for Halsin.

Halsin rarely shows offense or anger at lines no matter how mean they are (even the player shooting down his romantic overture by comparing him to a deep rothe gets a hurt response but no loss of approval or scolding or anything). He stays with the player romantically even after they threaten to sell him back into sexual slavery in the new dialogue- he doesn't even lose a single approval point! And while he gets annoyed if the player toys with his heart by nearly breaking up with him multiple times and then changing their mind, even after the fourth time the player does this, when he says "sometimes it is difficult to love you," the implication there is clear- he still DOES love you. Even when he is deeply hurt by what you're doing, so much so that he straight up asks you, "does it please you to see me crestfallen?" and loses approval, he STILL doesn't break up with you or assert himself- he doesn't say next time is the last time, he doesn't call the player an asshole, nothing. He just takes it even when he gets hurt and upset again and again. In short: Halsin puts up with a LOT of manipulative, borderline abusive behavior from the player without more than an occasional ding in approval.

Then you add in Halsin's backstory of sexual slavery, him losing all of his family, being so socially isolated from his leadership role that he began to MISS being a sex slave, his sadness but quiet acceptance at the fact that everyone thinks his feelings can't be hurt due to his size, his survivor guilt over the shadow curse, and the fact that the player, even if they choose to mistreat him, is still the one who broke the curse with him, leaving him feeling permanently feeling indebted to them.

In other words: what the game is showing us ISN'T a wise and stoic, sage old elf who is just that unshakeable after all he's seen. They are showing us a man with so much unprocessed trauma and such a complete lack of personal boundaries that he is showing several warning signs he could easily end up the victim of domestic violence by a partner- whether that's evil!Tav or some other potential partner he might find after canon- without ever realizing it.

The other romanceable characters will dump you if you mistreat them or violate the terms of the relationship (I.E. sleeping with someone else when they made it clear they weren't poly). They all, even Astarion, have more willingness to stand up for themselves than Halsin does.

Halsin isn't a pushover, or at least, I don't think we're supposed to read him as one. He will fight whatever enemies he needs to. But when it comes to those close to him- and note that he calls the player his friend in ALL circumstances- he just refuses. The most is a ding of approval at times or a very quiet, quick comment that basically amounts to "that wasn't cool :( " before he moves on.

I know it wasn't what the writers intended, but it's what comes across in the text all the same.

(This is also why, on top of headcanoning Halsin as autistic, I am also firmly convinced he was bullied as a child- he just acts far too much like a grown-up victim of bullying)

#halsin #bg3 #baldur's gate 3

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stardustdiiving · 8 months

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Wanderer doesn’t hide the fact he likes Nahida

I totally get Wanderer being snarky is a funny punchline but sometimes I see Wanderer portrayed as being super snappy and mean in response to Nahida trying to be nice to him and I can’t help being like no!!!!!! He wouldn’t do that to her!! :(

Often people seem to think their dynamic is Wanderer being grouchy & mean & telling her to screw off all the time because he doesn’t want to admit he ~actually enjoys Nahida’s company~ but man like. Wanderer isn’t some edgy moody teenager that Nahida has to keep on a leash and scold regularly whenever he acts out—he’s a grown man who’s actually pretty emotionally perceptive/intelligent when he wants to be in my opinion—he’s just very blunt and cynical and often rude/harsh as a result

Wanderer hates sugarcoating his emotions & if him liking Nahida is majorly because he feels she’s proven it’s more or less safe to trust her, i don’t think he has any reason to hide the fact he genuinely respects her and is regularly open about this when he interacts about her in canon. He may grumble about her requests or emotional earnesty because, well, it’s Wanderer, but imo if he were regularly snappy/mean to Nahida even in an “all-bark-no-bite” way we would’ve see them interact like that on screen already—but we don’t, and the fact that’s now how does treat her is a part of their dynamic I find very endearing and enjoy a lot—so I want to highlight it!

Like…look at how he talks to/about her even just going off of inversion of genesis alone:

I feel hes noticeably more cordial and cooperative with Nahida compared to say, Traveler & Paimon—he doesn’t try to intentionally provoke her for fun (or out of spite in the case of early IoG) the way he does with us/Traveler, both in Inversion of Genesis and Parade of Providence. He spends all of PoP intentionally trying to act suspicious/up to no good to mess with the Traveler & Paimon whenever we run into him—and then we get to the end of the event and find out Nahida just… asked him to monitor the event to make sure there wasn’t any trouble (+ wanted him to make friends LOL).

Like we literally see Nahida playfully tease him on screen and he doesn’t snap or get really grouchy with her…he just tolerates it like a mildly disgruntled cat

Which is…cute! I think it’s very endearing, especially when I don’t feel Nahida is usually playful like this unless she considers them an equal/friend—it feels like maybe she picks up on his energy a bit and adjusts her sense of humor/friendliness accordingly so it’s more intuitive/comfortable for both of them

Everyone jokes about Nahida dragging Wanderer into socializing and making friends right—which is true and something I think is very silly & fun, but again…while Wanderer may grumble about it I don’t think he’s actively mad or fighting with her about it even hyperbolically. Look at how he responds to Nahida telling him she wants to help him reach out to people in Parade of Providence:

This, combined with how he mentions feeling about Nahida not wanting him to isolate & be lonely in his birthday letter (“I can see that she was looking for a chance to make my life more fulfilling, but has she ever stopped to think about what an "experience" it is for others to meet me?”) gives me less an impression Wanderer is outwardly indignant and grouchy about Nahida trying to help him and more like…openly appreciative of the gesture but just doesn’t really think he’s worth the effort

I again think the specific way his responses to her trying to help him emotionally are always worded again show a distinct respect he has for Nahida as a person, and he seems genuinely grateful by the fact she gave him a second chance when, given how internally harsh Wanderer is about things and himself and how much he’s internalized expecting to be used or disregarded by others constantly unless he fights tooth and nail to not be, he probably didn’t expect any sort of grace at all post losing the gnosis, much less having someone seem to genuinely believe in him & want him to be happy/stable when he took said offered chance

I just think Wanderer is someone who cares a lot about being straightforward, especially about things that really move him emotionally, and think it’s really sweet he feels moved enough by Nahida’s encouragement & goodwill towards him to genuinely want to try with life. I get so sad when It seems like people think Wanderer is too like, emotionally immature or jaded to ever care to express how he feels about Nahida even in his own blunt, recovering nihilist way (when he explicitly does in canon IMO) and have him be snarky & grouchy to Nahida constantly, or believe he’d find her being good naturedly silly/childish annoying and scoff at her for it (people seem to think he hates children when he canonically does not and is quite fond of them!! I personally think some of that soft spot comes from finding childish earnestness + innocence kind of bittersweetly cathartic/comforting to see and would be something he’d actively like about Nahida!!) 😔

This is something I always try to portray in my own fanworks of them I just like it a lot, I want people to see the vision!!! Their relationship is very mutual on effort put in from both sides & Wanderer is more open about respecting Nahida than you may believe—which means he actively tries to acknowledge her kindness towards him and she doesn’t have to babysit him or drag him into cooperating with her all the time! And I find it very touching and sweet!

#scarmouche #nahida #wanderer #genshin #hat radish #I had a lot of fun writing this post if you can’t tell. I love talking about my hat radishes #maybe this is too long for ppl to want to read but that doesn’t stop me….we ball #wanderer nahida friendship agenda & my insane passion for characterization are eternal #fern.txt #fandomferns

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evilminji · 9 months

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Guess what color the Metorite Vandal Savage cuddled with, was?

Did you guess Ectoplasm Green?

Because it waaaaaaaas~ And! Thanks to a Certain Episode That Shall Not Be Named, we know that meteors and other space rocks CAN be Ecto-ranium!

Which!! Suggests OTHER Ecto-Elements may be floating about in space! Not in large amounts, but! Absurdly rare does NOT mean they never land on earth! Consider the various kryptonites! Rare! Still land on earth. Not all are immediately harmful to Kryptonians.

So? What other Ecto-Elements could land on earth? Perhaps one that... unlike Ecto-Ranium... that hurts Ghosts and Limnals? CREATES them?

Imagine if you with? You are Savage. Tired. Sore. Cold. The glowing rock... is WARM.

FEELS warm... deeper even then your skin. Like... like a blessing. Like the Sky Gods have sent you warmth and safety. Chosen you. You are so tired. The rock calls to you. The night is cold. Your body heavy. The light... so... so soft and pretty...

You wake up... Different.

Stronger. Smarter. More AWARE.

As though power has been poured into your veins. You no longer age. Are the ONLY of your kind. Wouldn't it be easy to make assumptions? For Obsession to twist your mind and time to alienate you from humanity? They are infants compared to you.

Isolation HAS been PROVEN to drive humans insane. And in so many ways? He is Isolated. Trapped without access to the Zone, the Realms Infinite. He is the only Man in a sea of violent, gibbering, ever repeating zygote. Thoughtless repetition of history's mistakes, played out before him, like Humanity itself is smashing it's head against a wall again and again and AGAIN.

Nothing new under the sun. Alone, decade after decade after century after millenia. Hungry for the presence of other people, their EMOTIONS and LIFE, but equally unable to bear them. Starving slowly.

Every war, each battle, a feast of SOMETHING that fills his stomach for years. The extreme emotions and sudden ends of Death releasing SOMETHING into the air he can not explain. Can not name. It fills him.

He is Chosen.

He is insane. An inherently social creature driven mad by social isolation. A ghost trapped in flesh, slowly warped by the filters of human perception and prolonged starvation. But... not alone... not forever...

A little town.

In that country built on mass Graves, that thinks so very highly of itself. Founded by witches. A town of CHILDREN. Stumbling and new. Like HIM.

Some stronger then others, as tends to be the case, some clever and sure footed. So many will not stand the tests of Time. They are too weak. But... BUT! Oh~ LOOK At Them! A Tribe of Children.

They will live FOREVER.

They must be protected. As he walks amongst them, he can see them struggle to understand themselves. To hide their greatness from the reactionary masses. Already the children have drawn the attention of some governmental branch of this or that. Were too inexperienced and without leadership.

No Father to guide them. No patriarch.

The best they have is a floating child. "Phantom". Children guiding children, truly it is madness.

As he stands on the steps of the halls of their little town's government hall. Do you think Vandal Savage smiles? Pats the head of a passing child, after he catches her, to keep her from stumbling? Is he the very picture of a pleasant, gregarious man?

How trustworthy.

Vladimir Masters must look up from his work, at his overly ornate desk, and meet the eyes of something far, FAR worse then himself. Know in that instant, as like recognizes like, that a monster has stepped foot into his office. What choice does he make, I wonder?

When his instincts scream this... this is likely it. You have no escape. This thing will go through you, continue on, consume and control until it has it's fill. You are an obstacle it seeks to... Remove.

What does he do then?

In that moment... does he think of the Family his Obsession cradles so dear? The woman he loves, unknowing of this danger? The children, the SON, no doubt first to be targeted after he falls?

I imagine he does.

He cares little for Jack Fenton. But Vladimir Masters, in his own twisted way, does love Jack's family dearly. He sits at his desk, brought from home, bought with stolen wealth, and smiles a businessman's polite smile. Let's his hand brush the decorative bobblehead of to the side. Slips his finger, intangible, just beneath the surface of the plastic...

..to the emergency switch below.

Flick.

Messages Sent.

Three phones light up, dispite having blocked his number. The screen fills with simple messages, repeated and bold.

RUN. GO NOW. I'M ALREADY DEAD.

RUN. RUN. RUN.

PLEASE.

RUN.

@stealingyourbones @hdgnj @ailithnight

#dp x dc #dc x dp #dpxdc #dcxdp #dc x dp prompt #danny phantom #vandal savage #vlad plasmius #vlad masters #if he had to choose between himself and his family #hed choose himself #but is he had to choose between literally ANYTHING ELSE and his family?#hed choose them #every time #Vlad DOES love this #hes just an awful gremlin man #minji's writing

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pianokantzart · 7 months

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I hope you don't mind me sending you this headcannon, but I have no one else to share it with. Based on his behaviour in the movie we can see that when Mario is upset or frustrated he tends to fold in on himself and remove himself from social situations. It's almost as though Mario feels that these negative emotions are shameful and something he has to hide and deal with internally/privately, and not something he needs to burden others with. It's kind of like his own 'ruleset' for his emotions.

But the weird thing is that to Mario those same rules do not apply to Luigi. Mario wants a world where his gentle, kind little bother has the space to express his feeling and emotions, positive or negative, and the idea Luigi might bottle those feelings up (the way Mario does subconsciously) out of shame would be a grave injustice in Mario's eyes. Mario would rather Luigi cry openly on his shoulder than hide how he's feeling. If anyone has a problem with that then they have a problem with big brother Mario.

Basically Mario admires and defends Luigi's ability to wear his heart on his sleeve, but sees those same traits in himself as a weakness/failing. He cannot let those negative feelings show, but he will fight for a world where his brother and friends can without fear of judgement. Obviously Luigi is keenly aware of Mario's nature and seeks him out when he's hiding himself away. And while he can't break Mario's stubborn resolve he's slowly encouraging Mario to be more open when he's feeling bad. He doesn't have to be the stoic, happy hero all the time, because even when he's at his worst he's still Luigi's hero.

^ Yes! this! BUT if I may ramble on a bit about my own theory... I think that there is a reason Mario sees Luigi's sadness as "more excusable," and it's rooted in the slight differences in how he and his brother feel sadness. While Luigi's low points have an undercurrent of fear, I think Mario's low points have an undercurrent of anger. This anger is by no means out of control, and ninety-nine times out of a hundred it's justified, but in most instances where he is dealing with sadness there is a little hint of resentment directed at his circumstances, at an oppressor, or at himself.

But this is not a bad thing! Like I said, his anger is not out of control, and is often wielded for good, helping him stand up for himself and those he loves, and persevere despite all odds.

However, Luigi's meek, fearful sadness is unobstructive, nonthreatening, and, most importantly, simple. So long as you banish that fear– assure him he and his family are safe and well– he's happy.

Mario isn't quite like that. He's headstrong and full of dreams, desiring so much more than simply to feel safe. He can't just be assured that everything is okay and feel okay again.

This, plus the fact that "anger" is seen by a majority as a far less forgivable emotion than "fear," inclines Mario to bury his feelings and self-isolate. His sadness... compared to that of his brother... is unpleasant and difficult to work with, combative and unwavering, and he doesn't want to burden anyone with that.

But like you said, Luigi is keenly aware of Mario's nature, and is determined to see to it that his sibling is okay.

#anon #askbox #super mario brothers #mario movie #Mario #Luigi #smb #mario headcanons

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yanderes-galore · 8 months

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Can u do headcannons for hiccup with a darling that randomly came from the future/real world like an isekai darling if that makes sense?maybe they try to figure out life in the httyd universe while also trying to find a way to go back to their home?

Of course! It's essentially going to be a HC version of this fic right here! I apologize if it's repetitive since these two fics are essentially the same thing-?

Yandere! Hiccup with Darling from this world

Pairing: Romantic/Platonic

Possible Trigger Warnings: Gender-Neutral Darling, Obsession, Manipulation, Social isolation, Darling is taken advantage of due to being naive, Delusional behavior, Dubious relationship, Threats, Overprotective behavior, Kidnapping.

I feel Hiccup is a very understanding person.

Like in the original fic I made he'd probably find you by chance and realize how out of your element you are.

How you got here in the first place is a mystery to the both of you.

All you can recall is going to bed or passing out before waking up on grass.

Meanwhile Hiccup is still trying to find out why your clothing looks so different compared to his.

It would take time before Hiccup fully believes your origins but he does defend you when he takes you back with him to Berk/The Edge.

Hiccup has always been one who wants to understand others and their beliefs.

It's inevitable that you'll be interrogated when he saves your life and brings you back.

His friends tend to be harsh when it comes to questioning an outsider, for good reason too.

The Dragon Riders tend to have violent enemies.

Due to your clothes and outsider nature, you're not really greeted with open arms.

Hiccup is the only one who feels you aren't a danger.

He and Toothless have saved you from wild dragons and you seem awfully confused.

Hiccup offers to hear you out and defends you from any overly intimidating interrogation.

Which means right away Hiccup becomes a friend who wants to help you with your situation.

His obsession isn't instant but he is intrigued at your situation.

When Hiccup hears your story he tries his best to understand.

Even if he still doesn't he wants to help you back to your own world.

He also knows he can't let you just fend for yourself with no dragon training or combat abilities.

Which means you're given a hut to take refuge in until further notice.

That's how Hiccup and you meet.

Honestly, Hiccup can see you in either light and act the same due to his character.

As time goes on he can see you as a close friend, one he has to look out for due to your clueless nature of this world.

Maybe he starts that way then slowly develops more romantic feelings as he gets to know you?

Either way I definitely think Hiccup would be the type to help his darling immediately to settle in.

He's start you off with something small at first.

Hiccup may help you interact with those around you, he may teach you combat, or he may assign you small tasks to do around Berk/The Edge.

He's very caring and tries to help you when no one else will.

He even tries to help you get along with the other vikings, often trying his best to remove all tension you cause.

Hiccup definitely gives you new clothes and hides your old ones in your hut.

He's trying to help you fit in so no trouble comes to you due to your odd origins.

Essentially, how you two become close is Hiccup teaching you how this world works.

When you become more trusted and are up to it he may even teach you how to deal with dragons.

I feel at first you won't notice Hiccup's obsession.

Around you he manages to keep up the facade of a friend just trying to help regardless of how he feels.

Truth is he actually likes the idea of you needing him for help.

Just him... he's always been the one you trust the most, right?

Behind your back he is actually altering more than you think.

For example, you may think the other vikings don't want to help you out or get along.

In reality Hiccup is making it that way.

He either threatens them or offers to help instead.

It's extremely concerning to the others that Hiccup is this close to you.

The others have a feeling Hiccup is taking advantage of your naivety.

He's alone with you way too often and I wouldn't be surprised if Toothless was in on it.

However, Hiccup doesn't see it that way.

He sees it as caring, he sees it as being the guide you need to live in this world.

Sure, it's a bit selfish of him to be your only companion...

But he quickly pushes away such thoughts for his own delusions.

There's most likely no way to properly bring you home I fear.

Yet Hiccup makes you cling to him more by providing you with the hope that there may be a way.

If the others try to tell you that Hiccup is using you for his own twisted form of company then you have trouble believing them.

Why? Hiccup happens to do a good job at manipulating you.

They're the ones lying, not him.

He was the first one to stick up for you, why would he lie?

Honestly even if Hiccup or one of the others found a possible way to send you home, Hiccup would prevent you from knowing.

It's either he himself found out and never told anyone or je threatened others to keep quiet.

Not hard to do when you have a Night Fury that listens to your every word.

Hiccup occupies most of your new life now.

You may even grow attached to him yourself before knowing about his manipulation.

Love or not, you trust him because he's been there for you.

Although if you ever do know the truth, like someone told you about it and you believed them, Hiccup has solutions.

He'd try to make you believe the lie again before deciding to just threaten and trap you.

Then he'd probably deal with the person who tried to turn you against him, friend or not.

Hiccup doesn't want to force you to love and care for him, but if it comes to it-

I can see Hiccup eventually just trapping you in his hut to keep you with him if you begin to distrust him.

Hopefully it won't come to that-

Hiccup gives you a chance to live a relatively normal new life if you just listen to him...

Just don't look any deeper into his intentions...

He promises he's not lying... he really is just doing all of this to care for you because he loves you!

You'll believe the one who saved you, right?

#yandere how to train your dragon #yandere httyd #yandere hiccup horrendous haddock #yandere hiccup haddock

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whitedemon-ladydeath · 4 months

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Rural Communities, Illyria, Yt Liberalism/Leftism + Classism

I'm having a hard time putting into words how I feel performative activism and political pandering plays into the way the IC works with Illyria

ok so I'm from rural Iowa. I am from a community of people who are prideful and hate handouts. we'd rather break our backs working ourselves into the ground instead of asking for help

now, I am looking at these Illyrians. these close-knit peoples who are prideful and work themselves ragged. As someone from a poor family, in a poor, prideful, relatively 'conservative' area, I can see a lot of similarities between Ilyria and my home. Not so much the rampant wing clipping and violent misogyny, but the pride and stubbornness that gets in our own way (note: misogyny, racism, ableism, etc etc etc are often the results of settler colonialism + yt supremacy. they just don't come out of NOwhere and were/are used as a tool to keep yt rich folks in places of power by causing class divide)

enter Cassian and the IC, people who greatly dislike the Illyrians, who routinely look down on them and call them backwards, uneducated, etc (note: this stereotypical language is due to racist undertones, canonically. This is just from my own perspective as someone from a low class rural area)

Cassian, who somehow has a victim complex due to the systemic problems of Illyria, but also does not actively push for Real Systemic Change outside of making the women Also be warriors, comes into the camps, he brings blankets, small tokens to help aid them and personally, if I saw someone from my home town who had made it very clear of how he actually feels about us try to give us blankets? I would not take a damn thing from him bec which is it? are we just the absolute Worst People Ever or do you feel *sorry* for us. And even if that is not his intention, which I don't think it is at all, he has proven time and again he's "better" than them

Cassian more-or-less scorned the Illyrians, as did Rhys and Azriel, and the more Cassian keeps aligning with Rhys compared to finding solidarity and alliances and progressivism with the Illyrians, the more alienated and isolated he's going to make himself from them

Cassian aligning himself with Rhys and the IC and Velaris and the High Lord's family removed him from the class and community solidarity if his own community. He profits off of the systemic problems that are in place despite having been a victim of the same problems

a lot of the ICs performative actions and pandering towards the Illyrians, just enough to get what they want out of them (bodies for a war), and their inability to push for actual, progressive and real change quite honestly reminds me a lot of the yt liberal and democratic politicians who look down on rural folks and have called us backwards and uneducated and hicks.

The IC hide their own prejudices and bigotry behind a shield of contempt and the systemic problems of the Illyrians, the same way I see from a lot of leftist + yt liberals here in the cities

The Illyrians have very real problematic systemic issues that need addressed and actively changed. And it's very interesting, for me, that the wing clipping and violence towards Illyrian women are so highlighted when violent misogyny seems to be fairly normal/common among the fae, in general, according to SJM, anyways

The way you combat systemic issues is through education, social programs and funding, policy changing, etc

what, exactly, is the IC doing for the people of Illyria outside of small performative gestures and "change takes time"

I see the same social problems of "change takes time" with democratic policies and I look at rural areas, and the Illyrians, who need help NOW. they're people getting routinely abandoned or forgotten unless we're needed for something bec they're "backwards" and "uneducated" and "hicks"

I'm not sure if I'm wording this well, tbh, but it feels very... familiar to what I have experienced living in rural Iowa for most of my life compared with the last few years here in the city

tagging: @bookishfeylin @kateprincessofbluewhales @acotardeservesbetter @ae-neon @andramoreaux

#a court of thorns and roses #acotar #sjm critical #anti rhysand #cassian critical #classism in acotar

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literary-illuminati · 3 months

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2024 Book Review #4 – War in Human Civilization by Azar Gat

This is my first big history book of the year, and one I’ve been rather looking forward to getting to for some time now. Its claimed subject matter – the whole scope of war and violent conflict across the history of humanity – is ambitious enough to be intriguing, and it was cited and recommended by Bret Devereaux, whose writing I’m generally a huge fan of. Of course, he recommended The Bright Ages too, and that was one of my worst reads of last year – apparently something I should have learned my lesson from. This is, bluntly, not a good book – the first half is bad but at least interesting, while the remainder is only really worth reading as a time capsule of early 2000s academic writing and hegemonic politics.

The book purports to be a survey of warfare from the evolution of homo sapiens sapiens through to the (then) present, drawing together studies from several different fields to draw new conclusions and a novel synthesis that none of the authors being drawn from had ever had the context to see – which in retrospect really should have been a big enough collection of dramatically waving red flags to make me put it down then and there. It starts with a lengthy consideration of conflict in humanity’s ‘evolutionary state of nature’ – the long myriads between the evolution of the modern species and the neolithic revolution – which he holds is the environment where the habits, drives and instincts of ‘human nature’ were set and have yet to significantly diverge from. He does this by comparing conflict in other social megafauna (mostly but not entirely primates), archaeology, and analogizing from the anthropological accounts we have of fairly isolated/’untainted’ hunter gatherers in the historical record.

From there, he goes on through the different stages of human development – he takes a bit of pain at one point to disavow believing in ‘stagism’ or modernization theory, but then he discusses things entirely in terms of ‘relative time’ and makes the idea that Haida in 17th century PNW North America are pretty much comparable to pre-agriculture inhabitants of Mesopotamia, so I’m not entirely sure what he’s actually trying to disavow – and how warfare evolved in each. His central thesis is that the fundamental causes of war are essentially the same as they were for hunter-gatherer bands on the savanna, only appearing to have changed because of how they have been warped and filtered by cultural and technological evolution. This is followed with a lengthy discussion of the 19th and 20th centuries that mostly boils down to trying to defend that contention and to argue that, contrary to what the world wars would have you believe, modernity is in fact significantly more peaceful than any epoch to precede it. The book then concludes with a discussion of terrorism and WMDs that mostly serves to remind you it was written right after 9/11.

So, lets start with the good. The book’s discussion of rates of violence in the random grab-bag of premodern societies used as case studies and the archaeological evidence gathered makes a very convincing case that murder and war are hardly specific ills of civilization, and that per capita feuds and raids in non-state societies were as- or more- deadly than interstate warfare averaged out over similar periods of time (though Gat gets clumsy and takes the point rather too far at times). The description of different systems of warfare that ten to reoccur across history in similar social and technological conditions is likewise very interesting and analytically useful, even if you’re skeptical of his causal explanations for why.

If you’re interested in academic inside baseball, a fairly large chunk of the book is also just shadowboxing against unnamed interlocutors and advancing bold positions like ‘engaging in warfare can absolutely be a rational choice that does you and yours significant good, for example Genghis Khan-’, an argument which there are apparently people on the other side of.

Of course all that value requires taking Gat at his word, which leads to the book’s largest and most overwhelming problem – he’s sloppy. Reading through the book, you notice all manner of little incidental facts he’s gotten wrong or oversimplified to the point where it’s basically the same thing – my favourites are listing early modern Poland as a coherent national state, and characterizing US interventions in early 20th century Central America as attempts to impose democracy. To a degree, this is probably inevitable in a book with such a massive subject matter, but the number I (a total amateur with an undergraduate education) noticed on a casual read - and more damningly the fact that every one of them made things easier or simpler for him to fit within his thesis - means that I really can’t be sure how much to trust anything he writes.

I mentioned above that I got this off a recommendation from Bret Devereaux’s blog. Specifically, I got it from his series on the ‘Fremen Mirage’ – his term for the enduring cultural trope about the military supremacy of hard, deprived and abusive societies. Which honestly makes it really funny that this entire book indulges in that very same trope continuously. There are whole chapters devoted to thesis that ‘primitive’ and ‘barbarian’ societies possess superior military ferocity and fighting spirit to more civilized and ‘domesticated’ ones, and how this is one of the great engines of history up to the turn of the modern age. It’s not even argued for, really, just taken as a given and then used to expand on his general theories.

Speaking of – it is absolutely core to the book’s thesis that war (and interpersonal violence generally) are driven by (fundamentally) either material or reproductive concerns. ‘Reproductive’ here meaning ‘allowing men to secure access to women’, with an accompanying chapter-length aside about how war is a (possibly the most) fundamentally male activity, and any female contributions to it across the span of history are so marginal as to not require explanation or analysis in his comprehensive survey. Women thus appear purely as objects – things to be fought over and fucked – with the closest to any individual or collective agency on their part shown is a consideration that maybe the sexual revolution made western society less violent because it gave young men a way to get laid besides marriage or rape.

Speaking of – as the book moves forward in time, it goes from being deeply flawed but interesting to just, total dreck (though this also might just me being a bit more familiar with what Gat’s talking about in these sections). Given the Orientalism that just about suffuses the book it’s not, exactly, surprising that Gat takes so much more care to characterize the Soviet Union as especially brutal and inhumane that he does Nazi Germany but it is, at least, interesting. And even the section of World War 2 is more worthwhile than the chapters on decolonization and democratic peace theory that follow it.

Fundamentally this is just a book better consumed secondhand, I think – there are some interesting points, but they do not come anywhere near justifying slogging through the whole thing.

#book review #history #war in human civilization #azar gat

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imagitory · 12 days

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Hey all! So recently Wish was added to Disney+, and I thought it might be a good opportunity for me to watch it again for the first time since I saw it in theaters. I asked you all what I should write about after watching it, and in the end, the top answers were an analysis of the criticism surrounding Wish and something focusing more on the positive aspects of the movie, rather than just the usual mindless bashing.

So that's what I intend to write! A look back at some of the common criticisms I've heard about the film, and how much weight they actually have.

Now, before we begin, I should put in a disclaimer -- I don't particularly like Wish as a film. I think it had ridiculous amounts of potential that were likely hampered by corporate decisions, but I personally find it to be one of Disney's weaker animated films. That being said, as promised, I will make any critiques I do include as balanced as I can, and I will try to include praise where I can too.

So let's start!

"Asha is a badly written character because she has no character arc."

This is a critique I actually found on a list also discussing valid criticism of Wish, and I knew I had to include it, because even BEFORE I rewatched the movie, I thought it was a bit unfair. Because here's the thing: there are plenty of good films, Disney or otherwise, where the main character doesn't have/need a character arc. All of Walt's original three princesses, Snow White, Cinderella, and Aurora, don't have character arcs. Ariel doesn't have an arc either -- instead her father Triton is the one who goes through a change of heart. Neither does Pongo, or Basil of Baker Street, or Robin Hood. Indiana Jones doesn't go through any real character development in Raiders of the Lost Ark, yet he was interesting enough to inspire a whole movie series! with mixed results. The important part is that even if a main character doesn't develop personality-wise, we should still be able to root for them and want them to achieve their goal. We don't want Cinderella to be abused by her stepfamily -- we want her to find someone who loves her and will take care of her the way she takes care of others. Although it can be more interesting to give your characters an arc while they pursue their goals, it isn't necessary to tell a good story or write a compelling character. Sometimes a story can be more focused on how their life circumstances or environment changes around them.

Another criticism this leads into is the idea that Asha is just another "quirky female lead" a la Rapunzel, except without any background that justifies it. And well...plenty of people griped that Anna was too much like Rapunzel, when Frozen came out. I saw people compare Moana to both Rapunzel and Mulan, when her film came out. Mirabel was also compared to past Disney heroines like Anna and Rapunzel. Even before Wish came out, people tried to argue that Asha looked just like Isabela Madrigal, which was just ridiculous. There's plenty of bad-faith criticism out there that'll shallowly associate one character or story element with one trope exclusively without looking at any nuance or detail. And I think most people would agree that truthfully, none of these female characters are the least bit "the same," no matter how much someone might try to all boil them down to "the quirky Disney female lead." And, like the others, Asha has traits that set her apart. The big one for me is her bent toward social justice, which is something we haven't really seen in a Disney leading lady since Esmeralda in The Hunchback of Notre Dame. Even so, I admit that Asha's quirkiness isn't as justified by her backstory as the trait is by Rapunzel's isolation or Mirabel's "outcast" status in her family, and that does make it so that her characterization has less depth than those of some of her counterparts'. Does that make Asha a bad character? Of course not. If you like Asha as written, that's totally fine. Underdeveloped doesn't have to mean unlikable.

"There are too many characters in this movie!"

Even I've been a bit guilty of thinking this. I still feel as though the film would've saved a lot of space if some aspects of Asha's friend group had been redistributed to other characters. Like okay, you want to reference the Seven Dwarfs in Asha's inner circle, but give them all distinctive personalities? Have her mother fill the Bashful role, and cut Bazeema. Have her grandpa be Happy, and cut Hal. Have Valentino be your Grumpy role, and cut Gabo. Have Star play your Dopey, and cut Dario. Suddenly you only have three characters -- Simon, Safi, and Dahlia -- to introduce in that kitchen scene instead of seven, and you've also now given Asha's mum, grandpa, and sidekicks more personality as well!

That being said, the amount of characters truly isn't the problem. The real problem is time. Because let's be honest, we can ALL think of media with a large cast of characters we've become strongly emotionally invested in. The Lord of the Rings -- The Avengers -- Hazbin Hotel...but the difference is how much time the audience is given to get to know all of these characters. Even Snow White and the Seven Dwarfs, which has a cast of eleven, ends up leaving the Prince and the Huntsman rather underdeveloped compared to the Dwarfs. We don't ever learn the Evil Queen's whole deal or even her name, and she gets a lot of focus! With Wish only being ten minutes longer than Snow White with a cast of fourteen, it's little wonder the filmmakers struggled to have all fourteen of them leave a strong, unique impact. Even when I first watched the film, I didn't feel anything negative toward Asha's friend group -- if anything, I was happy to see a Disney animated female lead with a friend group of her peers, since the closest we'd gotten to that previously was Hiro in Big Hero 6 and Mei in Pixar's Turning Red. All of Asha's friends had the potential to be very interesting people, and that's why it's sad that we didn't get to see more of them and have the chance to become invested in them as individuals.

"Magnifico was actually right the whole time! Asha is the REAL villain of the story."

I see this one a lot, both from people who disliked the movie and fans who stan Magnifico, and as much as I won't give anyone a hard time for liking Magnifico, I think this view isn't really fair to either character or to the story the filmmakers pretty clearly wanted to tell. And sadly, as much as I want to be positive, I think this interpretation comes about partly because of inconsistent writing on the filmmakers' parts.

In Welcome to Rosas, there is this utopic vision presented of the island -- one that only reinforces the story told to us at the beginning by Asha, of how this man who loves wishes learned powerful magic so he could found this idyllic island kingdom with his wife where he could make wishes come true. Unfortunately, for some viewers, I think that propaganda works a little too well -- making us see Rosas as a place that truly is that happy and content and peaceful. And yeah, that does make it so that when Asha sings about how she wants "more than this," that could make her come across as rather selfish and entitled. But I think there are a few things that are good to remember --

Welcome to Rosas is framed as an advertisement of sorts -- like one of those commercials you see promoting Disneyland and how magical it is, without ever bringing up how much money it costs or how many lines you'll have to stand in. Asha's guiding some new people around with the goal of convincing them to stay and give their wishes to Magnifico, so of course it's going to sanitize the kingdom and make it seem like a place you'd want to stay in. There's blatant hyperbole thrown in there for dramatic effect, like the idea that you could go to outer space. Asha even sings that you're "unlikely to be unhappy": not that you'll be happy living on this island, just not unhappy. And yes, there is a difference between contentment and true, fulfilling happiness.

Simon's friends flat-out call him boring, after he turned eighteen and gave up his wish. This foreshadows what we learn about the wishes later, which is that they're a core part of a person that they're left a shadow of themselves without. At the wish ceremony later on, we can see this in the animation of the two "new citizens" giving their wishes to Magnifico. When they think of their wishes, they're full to the brim with joy, but when they've given them up, they're left looking confused and almost bereft, and even as everyone else cheers, they look unconvinced by the crowd's cult-like "forget without regret" chant. According to Wish's own canon, you're cutting out the "heart" of who you are, when you give up your wish.

Considering Amaya says that Asha will need to keep the tea hot, listen whenever and for however long Magnifico wants to talk, and never question anything, Magnifico didn't want an apprentice -- that would insinuate he'd actually be teaching them magic. If anything, it sounds more like he wanted a personal servant to cater to his whims. And when that person interviewing before Asha disappoints him, he's left running down the hall crying hysterically. This develops Magnifico as the film's future antagonist. Already long before he uses the evil magic book, we see that he wants a subordinate to do whatever he wants without question or complaint, seemingly for nothing in return except his own approval and, I would presume, some sort of paycheck. (I mean, I'm not saying Asha was right to expect favors from Magnifico so soon, or that that kind of quid-pro-quo stuff isn't corrupt as heck, but considering she and Magnifico did seem to connect over how important the wishes were, and considering Sabino's 100 years old, can you blame Asha for opening up about her hope that Magnifico would consider granting her grandfather's wish? She never framed it as a quid-pro-quo, and this probably would be the best chance she'd have to appeal to the King directly.)

Asha is seventeen! Of course her world view is going to be smaller and more idealistic than Magnifico's, and of course her family is going to be the center of her world. At the same time, even if Asha is young, it doesn't mean her perspective isn't worthy of compassion and respect. Sometimes the young do have a more meaningful view of a situation than their elders -- just look at David Hogg, or Malala Yousafzai, or Greta Thunberg...hell, even Anne Frank! However upset Magnifico was about Asha disagreeing with and contradicting him, it does not justify how pettily he decided to shut her down. He was an adult, and a ruler besides: it behooved him to act like one.

The filmmakers clearly envisioned Magnifico as the villain. Even if you want to ignore the promos where they compared Magnifico to the likes of classic Disney villains, Magnifico is portrayed as an arrogant, vain, vindictive control freak. He thinks only he knows what's best for everyone else, has decreed that only he has the authority to cast magic or grant wishes, and knows how beautiful people's wishes are, but prefers to hoard them away like trinkets, long before realizing that crushing them gives him power. (Not to mention he looked at Asha's hand-drawn animation and actually said, "Do we call that a talent?" I mean -- excuse you!) I've even heard some people theorize that Magnifico was based off Disney's "collect-'em-all" CEO himself, Bob Iger, and not in a flattering way. His main argument scene with Asha has been compared to how creatives have felt about their corporate bosses abruptly shutting down and locking away their incomplete films rather than let them be finished or released. Admittedly Wish also goes out of its way to try to make Magnifico sympathetic by giving him the slightest of tragic backstories, having him actually trust Asha enough to show her the wishes after only just meeting her, and (later on) not giving into the temptation of the random evil magic book because Amaya asks him not to, and that definitely muddies the waters. I still have to stand by the fact, though, that one's motivation doesn't excuse their bad behavior, however much one can explain the other. Magnifico having a sad backstory or trauma doesn't mean he's justified in treating people poorly, collecting wishes for his own enjoyment instead of truly loving them and the people they're attached to by sharing them with others, or not wanting people to ever question him or his authority. Magnifico's "nicer" moments don't mitigate these things either. Nor does his role as king. Even if yes, the story could've done well to add more nuance to the idea of wishes and make clear that not all of them are good -- and yes, the story could've either made Magnifico's villainy a bit more straightforward or followed through with the idea of Magnifico being a misguided anti-villain...in this film, we only see good wishes represented in Rosas. Magnifico even calls the wishes "the very best part [of a person]" -- and so one can only presume that all of the wishes Magnifico's collected are that way. Asha even suggests (before Magnifico interrupts her) that if a wish is dangerous, they could probably address that, while still giving back the wishes Magnifico won't grant. And the wish that Magnifico explicitly calls too "dangerous" to grant is Sabino wanting to inspire future generations, presumably through music. Paranoia on Magnifico's part? Perhaps, but also unjustified, in the context of the film. When Star comes down, every last person in Rosas -- including Magnifico's wife and queen, Amaya, who presumably must know something of his trauma and understand wanting to protect their people -- feels nothing but warmth, hope, and joy: all except for Magnifico, who immediately reacts in fear just seeing the wishes moving outside of his control. This insinuates that Magnifico's perception is the odd one out -- he's the only one who's afraid and not inspired, because that alternative magic threatens his absolute rule and control. Just like he's threatened by his people asking too many questions about the wishes he's taken. Just like he's threatened by the idea that Sabino could inspire the next generation in a way he doesn't approve of. And in the end, if that random evil book did corrupt Magnifico, it only magnified what was already there inside of him -- a greedy, obsessive need to hoard things away all for himself and to control others.

Again, for those people who see Magnifico more sympathetically than the filmmakers intended, I can understand why. Wish has two very conflicting ideas of who Magnifico is supposed to be, likely because it was compiled from dramatically different script drafts. But I feel demonizing Asha or ignoring the film's overall message about the value of people being free to chase their dreams to try to prop Magnifico up is misguided.

"Wish is bad because it's 'woke.'"

I almost wonder if I even need to say anything. This sentiment is so disingenuous, it seems like I should really be able to let it speak for itself. Ironically enough, though, I would actually argue that one of Wish's biggest shortcomings is that it isn't as revolutionary as it clearly wants to be.

For one, the culture of Rosas -- inspired largely by Spain and the Mediterranean -- is really never explored. We get no real influence of either of those cultures on the soundtrack aside from a few mandolins and a flourish of castanets now and again, unlike how Encanto embraces Colombia or how The Princess and the Frog celebrates New Orleans with their music. There's a lot of diversity in Wish's cast with a biracial lead and her colorful friend group (including Dahlia, who has a crutch!), but that would be a lot more meaningful if that diverse cast of characters had had fully fleshed-out personalities and relationships that made us emotionally invested in them, such as how Turning Red handled Mei and her friend group. We have aspects of social justice in Wish's storyline, sure -- but as much as you can draw parallels to Wish's story and the writers' strike that had been going on earlier that year and I think those parallels are striking, a film that clearly dealt with so much corporate oversight and meddling almost couldn't commit to making their villain a True Evil sort, and in the end, Rosas doesn't even do away with the absolute monarchy at the end of their supposed "revolution": it just shifts leadership from its King to its Queen. (And yes, I acknowledge saying "no more royalty" is a message that Disney, of all companies, would be hesitant to put out there, but you can't deny, it would've been both ballsy and different.)

Does this mean Bob Iger was right, that Wish is proof its creative types are focusing too much on message and not on entertainment? No. I'd say the bigger problems with the film were more likely caused by corporate interference -- you know, like hiring some popular pop composers to write songs that can be repackaged into other projects easily rather than primarily tell the story and develop the characters. Or deciding that our main female lead has to be able to do everything on her own without "too much help" from her main co-star (LOL, pun) because "feminism." Or defanging the villain with similarities to the company's CEO so he won't scare the kiddos. Or even animating the film at the exact same time as you're writing it like you previously did with Frozen II, to save time and take advantage of the 100th anniversary timing.

Even so, I sadly can't help but feel that Wish is "woke" largely in a performative sense. It features people who look different from each other and it talks about revolution and positive change, but it really doesn't go far enough to depict diversity in a way that people can get really excited about it or inspire deep thought and even maybe positive change in its audience. That's not focusing too much on message and not on entertainment -- if anything, it's more indicative of not giving the relevant and timely themes and the diverse culture enough focus.

"The meta Disney references are awful."

This one I think really is much more subject to personal taste. I've heard quite a few fans say how fun it is to find all the Easter eggs for other Disney projects or even to theorize how Wish could be connected to those movies in some kind of Disney Cinematic Universe. Personally I'm not in this camp, but that doesn't mean that I hate all the references included. The film opening with the exact same kind of text from Snow White and the Seven Dwarfs actually made me smile. The Sleeping Beauty-esque drawing style in the storybook was pretty. Even the Seven Friends as an idea I thought was cute, when I first saw the concept art for them.

By and large, the references I tend to see more favorably are the ones only hard-core Disney/animation fans would pick up on. This might make me sound snooty, but I still personally enjoy references like Star's design being based on one of the star cherubs from a discarded Snow White sequence far more than I do the more blatant ones like Magnifico crushing a dream about a "perfect nanny" or the boy dressed like Rosasbound!Peter Pan. I guess for me, the first kind of references feel more like homages, rather than things that are deliberately supposed to make you think of other Disney movies you could be watching instead of this one. For other people, though, thinking of different Disney films while watching Wish is fun, and it reminds them of how much they enjoy those other movies too. It's good, clean, nostalgic entertainment. And well, Disney has put plenty of Easter eggs in its work before, though usually a bit more sparingly.

So yeah, I think ragging on the flood of Disney Easter Eggs in Wish is a bit unfair. As much as most of them aren't for me and I would've been happier with a lot less of them, I know there are other people who find joy in them, and I'm happy they do. The animators working on this film undoubtedly had a lot of fun including those references too, and I don't blame them! It's fun to create art celebrating what you love with like-minded people.

"Wish's songs are all terribly written."

Now up to a certain point, I could just say exactly what I said against the last criticism -- that this really comes down to personal opinion. Unlike meta Easter eggs, however, music is an art form, and there is real craftsmanship to it -- hell, people study music theory for a reason. And as several Youtubers have discussed before, there are real structural problems to how a lot of these songs are written. In some cases, it's an issue of cadence, where the way the words are sung don't sound like how they'd be naturally spoken aloud. In Knowing What I Know Now, for instance, sometimes the singers use the wrong emphasis on certain words, just based on where they land in the song, such as when Asha sings about Magnifico showing his "TRUE col-ORS in SHADES of GREEN," even if people don't naturally emphasize the second syllable in the word "colors." In other cases, it's over-stuffing a line with words so that the melody line isn't as memorable, such as in This Wish where the amount of syllables per line are all over the place and sentences get cut in weird places --

Isn't truth supposed to set you free? (9) Well, why do I feel so weighed down by it? (10) If I could show them everything I've seen, (10) Open their eyes to all the lies, then (9) Would they change their minds like I did? (8) But when I speak, they tell me, "Sit down!" (9) But how can I when I've already started runnin'? (8) Oh, this is where we've been, (6) But it's not where we belong, (7) And I may be young, but I know I'm not wrong... (11)

There are also cases where the songs barely use any actual rhymes in favor of half-rhymes or worse twist themselves into pretzels just to make an actual rhyme, such as in I'm a Star, with lines such as "When it comes to the universe we're all shareholders // Get that through your system! (Solar!)" and "Ooh, I'm a star! // Watch out, world, here I are!" (Excuse me while I cringe.) And then of course, most infamously, there are the redundant and otherwise weird lyric choices, most commonly cited in Magnifico's And This is The Thanks I Get?!, such as "I got these genes from outer space!" and "I let you live here for free and I don't even charge you rent!"

By and large, people have not responded as well to Wish's soundtrack as they have for many other Disney musicals. It could also be argued that the songs don't tell the film's story as well as they could've. The most egregious example of this is At All Costs, which is supposed to be our villain and hero singing about the beauty of the wishes the first has collected, but was literally written as a love song first, just because Julia Michaels wanted to write a song that could be played at people's weddings even if the movie in question didn't feature any romance. Even This Wish was written well before the script was finished, and this is when we can tell from all the concept art released by Disney that this movie had been dramatically rewritten at multiple stages of development.

And yet even with this, I still see people making animatics for At All Costs featuring their own characters or Asha and the discarded Starboy concept. (And yes, we'll come back to that.) I still see fan-made music videos featuring This Wish. Hell, even I have some of Wish's songs on my IPhone, and I listen to them actively! Knowing What I Know Now, as much as I see what's technically wrong with it, is still a bop for me. However much I had to take a full-on sanity break after listening to I'm a Star a second time, I do enjoy This Wish and At All Costs, just on their own. I don't think This Wish (reprise) is a bad musical or thematic climax, especially if one considers Magnifico's fear that Sabino's wish was to inspire the next generation through music, and it ends up being a song -- sung by his loving granddaughter -- that ultimately defeats our antagonist. I don't think any of Wish's songs really help tell the story as well as other Disney songs do for their films, but I still think there's room for personal taste here. Music -- like all art -- still has an element of subjectivity. It isn't a science -- yes, there is talent and skill involved that can only be mastered with practice and hard work, but there's still a bit of magic that comes with the finished result, and as much as it might not be popular with the masses, that doesn't necessarily make something worthless, or that public consensus can't change. Tchaikovsky famously hated the work he did for The Nutcracker, as did the critics of his day, only for it to go on to become a staple of holiday entertainment and ballet productions overall. Plenty of cult classic films like Labyrinth and Heathers didn't make a lot of money or get lots of praise when they first came out, but soon enough they found their audience.

"The animation is lazy!"

There's actually a much better video discussing this, made by a real professional animator, and I think I'll just let him handle this.

youtube

One thing I want to touch on, though, is Jennifer Lee's commentary about why Wish ultimately wasn't done in 2D animation --

"What happens in hand-drawn is that you have the incredible hand of the artist, but also limitations in what you could do on screen. What happened in CG is you'd have incredible, boundless opportunities, visually, that elevated it — even to the point for some — into realism, which is not what we wanted to do. The more important thing to us was to have a way to find technology that can do everything. Connect to the true vision of the artist, but bring in technology that could finally take away limitations."

-- and yeah, I'm not going to lie, this sentiment leaves a really bad taste in my mouth. The idea that hand-drawn animation somehow limits what art you can create is mind-boggling for anyone working in animation to think, but especially for someone working in Disney animation. I can't help but feel like Uncle Walt would've been ticked if he'd heard anyone suggest this. Anyone who loves animation I think would be annoyed by it, and I'd say people like Hayao Miyazaki continue to prove that Lee's thought process isn't true, considering that his hand-drawn film won the Oscar for Best Animated Feature the same year that Lee's Wish was passed over by the Academy altogether. To be fair, though, this is more a reflection on certain Disney leaders' dismissive attitude toward the medium that built their company as well as the vast majority of the films they're supposedly celebrating, rather than any condemnation of the hard-working animators who worked on Wish. And yes, although no one can argue that Wish ultimately doesn't look as good as its animated peers like Sony's Spiderman: Across the Spiderverse (which was made with half the budget Wish was), that's more the fault of a flawed vision on the part of the filmmakers than anything. It's certainly not indicative of a lack of talent, resources, or caring from the animators themselves.

"Wish would've been so much better if it had featured a love story between Starboy and Asha!"

Okay, let me pop this bubble right now --

None of Disney's official releases have ever indicated Star was going to be Asha's love interest.

The concept art featuring Asha and human!Star? Yeah, that exists, but there's nothing strictly romantic in any of those concepts, like them kissing or even hugging. At All Costs originally supposedly being a love song for Asha and Star? As touched on above, nope, it was even more of a cynical corporate decision than that -- the songwriters just wanted to write a love song that they could repackage and use elsewhere, even if there was no love story to go with it. The thing about Asha and Star supposedly being soulmates? That's derived from a comment in the artbook from Wish co-writer Allison Moore, talking about Asha and Star in their current forms, and so therefore the sentiment was intended platonically --

"Now Star and Asha have an emotional journey. They are soulmates."

And well, just based on a good chunk of the Disney animated films that had come out prior to Wish featuring male and female leads -- Zootopia, Moana, Big Hero 6, Wreck-It-Ralph -- there was really nothing definitive to suggest that our two central characters were going to be romantically linked. And even if Star and Asha were going to be love interests, that still would've been no guarantee of a better movie -- you'd still need compelling, well-developed characters, if you want to likewise have a compelling, well-developed relationship between them. And as I've argued in the past, a movie doesn't need romance to be good. If someone could feel sincere platonic love between Star and Asha as their actual movie selves, then any romance between them wouldn't be needed. I truly believe the only reason that so many people have gotten so hung up on the idea of a Star/Asha romance is because that original platonic "soulmates" idea Allison Moore and others envisioned just didn't ring true for them. They saw more love and interesting chemistry between the original concept art versions of Star and Asha than they did between any of the characters in the finished film...and so they've built upon those flickers of love with their own imagination and then built that mental image up into something that I don't think the filmmakers probably ever intended.

I must be honest, it was kind of a slog, watching Wish for a second time. I stopped multiple times to take notes, unable to just sit back and let the movie wash over me. Even so, I truly appreciate how much time you must've spent to skim through this way-too-long analysis, as well as the votes you all cast in that one poll of mine! I love analyzing Disney, and as much as I don't love Wish, I do think it provided great fodder for new fan creations and has amazing potential as an educational tool about both good storytelling and film-making. And if there are more criticisms of Wish you'd like me to discuss, please feel free to reblog this post with them! Thank you for your support!

To close us out...if you love Wish, then keep on loving it! Don't let anyone -- including me -- tell you otherwise. I don't think a film that was truly the worst thing ever would've attracted as much attention or overanalyzing as Wish has received. And for those of you who are still dissatisfied with Wish, here's a list of films I compiled that you can watch and enjoy instead!

For Starboy/Asha stans...Stardust!

For both Starboy and Chris Pine stans...Rise of the Guardians!

For those of you who love the idea of storytelling magic...Whisper of the Heart!

For those of you hungry for a diversely cast, "woke" fairy tale...Rodgers and Hammerstein’s Cinderella (1997)!

For people looking for a colorful, family-friendly musical...Wonka!

For avant-garde animation fans...Guillermo Del Toro’s Pinocchio!

For modern CG animation fans...Puss in Boots: The Last Wish!

And finally, probably most obviously -- for those Disney fans looking for a loving tribute to 100 years of Disney Animation with a bunch of Easter Eggs and good humor...Once Upon a Studio!

Much love to you all! 💛

#disney wish #wish (2023)#wish critical #disney #opinion #analysis #oh boy here i go

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leeeeeeef · 11 months

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still thinking about the similarities and differences between miles edgeworth and trucy wright's upbringings,,, like i get that its no big secret that miles and trucy both lost their biological fathers in the courtroom in incidents regarding forged evidence and wrongful convictions and that their adoptive guardians were somehow involved in gregory/zak's disappearance and that miles and trucy both may or may not have played some role in their disappearances as well (whether it's perceived or unintentional)

but also i think its kind of interesting how trucy didn't become a defense attorney like phoenix did, but rather stuck with being a magician like her bio parents and grandfather. and phoenix supports her in all of her endeavors!!! phoenix loves trucy regardless of her occupation, and it's such a stark contrast to how manfred completely shapes miles's career, personality, etc. miles ended up not following in gregory's footsteps, and it's completely different to how trucy was allowed and even encouraged to continue her family's business.

also i love how phoenix brings trucy and apollo closer together even before they find out that they're half-siblings. and even more, trucy and pearl are almost like sisters to each other (capcom please give us more trucy/pearl interactions pleaseplease please) and since phoenix was a friend of the fey clan long before he met trucy, there's no doubt he had a hand in their friendship. anyways what i'm trying to say is that phoenix puts effort into making sure his daughter has a vivid social life - an extensive support system that she can rely on.

on the other hand, miles and franziska's siblinghood is entirely different. as much as i love their dynamic, it's pretty clear to see that a big part of that dynamic is their rivalry. franziska doesn't want to fall behind miles; she becomes a prosecutor at around the same time that miles does, even if she's seven years younger than him; her entire motive is to beat phoenix in court as a way to surpass miles; and in aai1 fran and miles are competitive with each other (albeit in a sibling way but still). and i get that this is pretty much completely speculative but i cant help but think that maybe manfred had some hand in that?? perhaps pitting them against each other as a way to isolate miles from any sort of familial connection,, i like to think that fran and miles seeing each other as siblings shows how they free themselves of manfred's polarizing influence.

and i haven't watched the anime but i heard that manfred makes miles study in europe for a while?? in a country where he can't understand anyone else (at least until he learns the language),,, and compared to trucy's upbringing, miles had been so isolated from everyone, from his sister, from his childhood friends, and that isolation was in no small part due to manfred's influence.

(another note: i feel like trucy's and miles's differing social skills show this disparity even more; miles is a lot more socially awkward and standoffish due to how isolated he is while trucy is very comfortable and friendly with others, possibly due to how trucy has had a lot more opportunities for socialization. i can see why someone might chalk it down to trucy working as an entertainer but miles's profession also requires a level of social adequacy in the form of persuasion, so it's probably more than just their jobs)

i think it ultimately comes down to how manfred and phoenix perceive miles and trucy. im pretty sure manfred says at one point (im too lazy to find the screenshot to cite it..) that his treatment of miles served as a sort of revenge against gregory, corrupting him from a young age to completely purge gregory's influence. he sees miles as a vessel of his hatred towards gregory, almost like an extension of gregory himself. meanwhile phoenix sees trucy as,, well... a person - his daughter, with all of the wants, personality traits, and idiosyncrasies that make her /her/. and even though zak has done so much to hurt phoenix, phoenix doesn't let that get in the way of his love for trucy. hell, it's even reflected through their surnames; miles keeps his father's first name, showing that manfred doesn't really see miles as an adoptive child, while trucy changes her last name, showing that she and phoenix truly are father and daughter.

also. like. im sorry for tying this back to wrightworth but it's kind of poetic that miles ends up holding phoenix in such high regard. it's as if phoenix represents a life that miles might have had a long time ago; a symbol of security and warmth and unconditional love that was robbed from him at such a young age. it's especially apparent since phoenix and miles are childhood friends, like phoenix is a literal remnant of miles's past.

but there's one monumental similarity between miles and trucy that i've neglected to mention, and it's how they both learn to use the influence of their predecessors for good. although manfred had made miles a prosecutor as a way to get back at gregory, it's clear that miles still holds the values and morals that gregory had instilled in him close to his heart. and with phoenix's help, miles eventually learns how he can help others as a prosecutor. miles remains a prosecutor, just like manfred, and even retains many of the same mannerisms and fashion choices. however, his motives and morals, as well as the impact that he leaves on others, are undoubtedly his own, with the compassion and conviction that he had held since he was a child.

and it's no secret that troupe gramarye has their own history of scandals. but the heartless, manipulative way that magnifi, zak, valant, and even mr. reus treat both members and outsiders of the troupe,, it's nothing like trucy's brand of magic. her magic is so much kinder (yes, even the knife dances and catching bullets between her teeth) and she has so much more respect for the other magicians she works with. even when she inherits the troupe, her shows are traced with cheerfulness and wonder. she performs magic simply to put smiles on faces, even after the death of (as far as she knows) her only remaining biological family, even after being held hostage, even after being accused of murdering someone she had so much respect for. and that's probably more than anyone else in the troupe has done.

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